Jane Dark ([info]jane_dark) wrote,
@ 2009-02-26 21:17:00
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Decoding Dollhouse
I think I understand what Whedon is trying to do:

The "high concept" of Dollhouse is this: men actively fighting misogyny/sexism.

Or coming to the realization that they need to fight it, and fighting it.

The Dollhouse is meant to be both a realistic and symbolic stand-in for misogyny, sexism, and objectification of women. We think that Echo is the main character, but that's really a bait-and-switch; the important figures are everyone else: watching Boyd and Ballard face off against Topher, DeWitt, & Leonard.


Dr. Fred is probably with Boyd and Ballard, on the good guy side, but she's meant to be seen as a victim too, that's why she's got the scars to emphasize her being hurt. This is why we're getting really detailed scenes with both B's: Boyd's awareness/distaste is meant to contrast with Topher's cavalier attitude; Ballard's struggle is to prove to his bosses that the mindwiping/rape that takes place at the Dollhouse really *is* important enough to warrant investigation by official institutions.

Instinctively, I can see that as a "subversive" concept that Joss could totally get behind. And even one that he could sell to the networks. If that's what this is, then I can definitely see the appeal (for me, even*): how many shows exist that are *about* men fighting sexism?

I think the concept is not without problems: if the narratives are supposed to show us different scenarios in which women, or Echo, at least, is weakened via objectification/misogyny, so that we can watch Boyd becoming more and more aware of how this is problematic in contrast with Topher's cavalier attitude; and watch Ballard arguing to convince his superiors that mindwiping/trafficking women is important enough that it does warrant federal investigation...

...it's both a really powerful pro-feminist stance AND male-centric at its heart. It's both revolutionary and, I fear, subtle enough that it will really be preaching to the choir.

I've been bothered by how much the first two episodes seem to feature Echo needing to be helped in a key way by men. Even though she kills Matt Keeslar's character in the second ep, until Boyd shows up to reassure her (and be reassured), she runs around like a scared rabbit. If the point is that men don't help women fight misogyny/sexism sufficiently, then Whedon is right -- though I feel that men "rescuing" women from this is problematic in its own right.

If I'm right, then this explains the sort of hiding in plain sight vibe that I'm getting from the Dollhouse. Sexism and misogyny hide in plain sight, too.

Where this fails, I think, is in representing perspectives that are harmful as people that are harmful, but who can nevertheless be knocked down. Perspectives aren't nearly as easy to conquer. But I can totally see the characters fitting into roles as perspectives: Leonard is the overt misogynist, Topher is the more subtle misogynist who might argue that he's just making women better, giving them opportunities, etc.; DeWitt is the female traitor who perpetrates the ideal of the perfect woman (note that she's the one who makes the pitch about what these actives can do and how well they do it) just as women who buy into the ideals of the patriarchy harm other women.

Oh, and Alpha? Alpha is the stereotypical "alpha male," with all the potential harm and violence that the alpha male can cause accelerated and made visible.

Another problem, if this is what Whedon is trying to do, is that both Boyd and Ballard start off as heroes. Whedon tries to make them less heroic by having Ballard shown as a bit violent himself, and Boyd acquiescing to what's happening in the Dollhouse, even reluctantly. Boyd's role is as the aware but passive male who realizes he can't be passive about misogyny anymore; Ballard is the forceful/powerful male who needs to learn how to channel his energy.

I don't like the idea that this is a show about women being rescued from misogyny by men. But I'm hoping that when I've seen more than two episodes, it'll be more clear that Echo/Caroline is going to be learning ways to regain her independence on her own, as well as with the help of male colleagues.

But as a political message, I don't think this works. I think that all it might do (and this is a vast oversimplification) is get your stereotypical boorish viewer to say, "Well, no, I don't rent customizable prostitutes. I know that's wrong." And that misses the point of the subtlety of misogyny/sexism/objectification.

ETA: Oh, yes. The mythology behind this supports this interpretation too, I think. Here's Echo's story: she's essentially a tool of the patriarchy who helps Zeus by distracting Hera with chatter so that she (Hera) won't detect Zeus' infidelity. When Hera finds out, she removes Echo's voice, and her agency, so that she can only mimic those who have spoken before her.

How much like imprinting and engagements does that sound to you? Echo is a tool of the patriarchy, used by men in a variety of ways to further their own desires**; resented by another woman (Hera and DeWitt are a loose parallel); and eventually her life is ended in one way or another (myths vary slightly) as a result of her love for a narcissistic male. (I'm assuming that Echo's life won't be ended, of course. It may be pushing too far to suggest that Whedon is rewriting mythology this way...however, I do think that it might be significant that our first view of Echo on a mission ended with her waxing romantic over a guy).

* Maybe I should revise this to say that I can see his good intentions, though at the same time, I think that this method just reinforces the idea of the patriarchy, while trying to "improve" it into a patriarchy that is less misogynistic. And a less misogynistic patriarchy is still the patriarchy.

**I know we may see Echo in other more altruistic assignments, or assignments where she's being used by women -- I think politically that's meant to show that both genders can promote objectification/sexism/misogyny -- but I think we're going to see far more men hiring out Echo than we will see women.



I don't really know whether I'm onto something or way off base with this. I'd welcome other peoples' views.



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[info]mystic_savage
2009-02-27 10:54 pm UTC (link)
Some very, very interesting points. I was glad to see Alpha emerge as a figure in the second episode and glad to see both male and female "dolls". I think it's early yet to define the specifics of the meta-message, but I was intrigued at the change in the power dynamic between Echo and Boyd when he is shot and she asks him "Do you trust me" and he answers "with my life", whereupon she takes the lead in saving herself and him. This show is far more disturbing to me than any of Whedon's other work. It isn't overtly feminist in any way so far--if anything, I fear it reinforces some of the misogynistic messages of the culture. I'm interested to see what happens as the show continues -- there is great potential for it to break out of the mold, and I trust Whedon enough, I think, to see that coming. But...I also note that I can't think of a single overweight actress in any of Whedon's other work (other than his junior writing stint on Roseanne). Not a demon, not a mother, not a lawyer, not...well, you get the point. And to continue this ramble, I wonder if the casting choices in Dollhouse don't just reinforce a greater cultural objectification of the human body, whether male or female. (Sorry -- this is getting long for a comment -- will continue this ramble in my journal). But--interesting points you make. Thought provoking. Thanks.

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[info]jane_dark
2009-02-27 11:09 pm UTC (link)
I think I'm probably equally disturbed by the show...I've hashed out a lot of that frustration in other arenas, which is why I could write this post a little more calmly at this point. But reinforcing misogynistic messages, and not dealing with anything other than the perfect Hollywood body type: those have really been bugging me.

It's not that other shows are good at dealing with other body types (the only one I know of that does so well is Criminal Minds) -- but Whedon's emphasis on females fighting only serves to amp up the male gaze.

I liked the shift between Echo and Boyd that you mention, and I'm hoping that it will build towards something more. I hope it doesn't just become an aspect of pathos, i.e., "OMG, poor girl is brainwashed, and she still displays courage and compassion!"

But it's too early for me to say how that will go. Anyhow, thanks for stopping by. I'll be curious to see what else you think about as the show goes on (at least for now).

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[info]lotesseflower
2009-02-27 10:57 pm UTC (link)
here from [info]dollhouse_tv - this really makes a lot of sense to me, especially since this is a game Joss has played before, most notably in the early episodes of "Angel." I've joked about AtS as being a boy-feminist fantasy wherein men get to destroy/resist the patriarchy and rescue women from their own oppression.

My bottom line is that it's sweet, but also reaaaally problematic. Because male feminists need to realize that their need to save girls and women is patriarchally driven. We don't need them to save us; we can save ourselves.

"Angel" dealt with this in part through its relationship to "Buffy" - obviously this was a world where girls could save themselves, and that made Angel's girl-saving heroics easier for me to swallow. I'm not sure if Dollhouse has a similar mechanism available, though, and I do sort of object to Echo only mattering insofar as Boyd/Ballard's moral journey.

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[info]jane_dark
2009-02-27 11:17 pm UTC (link)
You know, I'd forgotten about how much Angel did that at first. I watched Buffy almost from the start, and loved it, and Angel didn't grab me, so I only followed it occasionally.

Reallllly problematic is right. Though I like the spin you mention, with Buffy demonstrating that there was a world where women *could* save themselves.

I sure as hell hope that Echo is going to matter in some other way besides being a stimulus for moral epiphany. And that she doesn't become the sympathetic character who is inspirational because she kicks ass even though she's oppressed/violated/mindwiped week after week.

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[info]alexeia_drae
2009-02-27 11:27 pm UTC (link)
Hmm, I'm really waiting to see more of the show before I pass judgment, but I did not think at all about the angle of having men start to fight sexism. I will say that I believe that Echo will start to fight the system herself (the hand signal she gave at the end of Target, that and something about the scene made me wonder if she knew more than she was letting on).

Either way it's a tricky plot to navigate correctly, and while I appreciate how Joss does create strong female characters that have friendships with other female characters, he has had missteps in the past. I'm hoping he's learned and will be able to pull this off well.

Though another thought just occurred to me that, as several of the dolls are male, it might not just be about feminism. Yes, the main character is female, but there are male dolls. May be it's about freedom in general. It's really hard to say so early in the show.

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[info]jane_dark
2009-02-27 11:34 pm UTC (link)
Oh, yeah, I really didn't want to start passing judgment this early.

But the combination of the sexed-up commercials, the heavy dimension of male fantasy in the first ep; the fact that the second episode was largely Echo running through the woods and being terrified until Boyd showed up...it felt like an eroticized fearfest.

I'd love it if it were about freedom in general. I think it might intend to be. Whether it'll succeed...well, writing about it gives me the patience to keep watching.

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[info]juliet316
2009-02-27 11:40 pm UTC (link)
First off, love the fact that you have a Donna icon. RTD must be mauled with really pointy objects for her fate in Journey's End.


Second, I'm not sure what to think about Dollhouse yet. As has been said, we're only two eps in. There's not a whole lot of information to go on. I would certainly hope we see Echo in more situations where she's not objectivied and in stronger positions, but we'll see. We've also yet to really see the male actives in action. Hopefully FOX won't cancel it before we get to that point.

About your Greek mythology paralell: In away Echo's life has been ended. When they mindwiped her for the first time, her life as Caroline ended and she was just a shadow of her former self. Whether her life is ended permanently or not remains to be seen.

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[info]jane_dark
2009-02-27 11:49 pm UTC (link)
I have NEVER gone so quickly to the fanfic boards looking for a rewrite as after I watched Journey's End. I think further down (in June) I've got a post yelling about it.

Thanks for the tip on the mythology parallel. You're quite right, and I think I might have missed that because I added it late last night.

You know, if there's one thing I'd like to find out a little more about soon, it's what happens to people at the end of their five year term. I think DeWitt says they'll be very rich? And that they have a clean slate from whatever it was they did? I'd like to know whether they supposedly get an imprint of their old personalities back, but I sort of wonder if it's more a witness protection program sort of thing where they get a new imprint and a whole new identity not connected with their pasts. If so, then yeah: Caroline is dead.

Argh. I need to see more eps.

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[info]juliet316
2009-02-28 12:15 am UTC (link)
Tell me about it. I was shocked about everything that went down. It only got worse in October when I realized we were likely never going to get a proper resolution on TV. I've already written a couple of fics on my LJ where Journey's End either never happened or what happened to Donna didn't. One pairs Donna with Jack (Prelude to a full blown Journey's End rewrite) and the other is ongoing. Other ideas are coming to the fore where if Journey's End did happen, then there is a fix - it. I've got no problem with much else in JE, but yeah, Donna's fate sucked.

It will be interesting to see what happens after their contracts are up. Just because they sign on the dotted line doesn't necessarily mean they'll get their freedom back at the end of it. I would think an organization like the Dollhouse would be very very reluctant to let their actives, knowing there's always a possiblity that one or more of them will remember and possibly go to the authorties with that info, especially after the disaster that was Alpha. We shall see what happens. Like I said, hopefully Fox won't cancel it before we can get to that point.

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[info]theantijoss
2009-02-28 11:31 pm UTC (link)
Hi. Sorry to just poke my nose in to your conversation. I cruised over from [info]dollhouse_tv. I noticed you were talking about what happens to actives. Last night in "Stage Fright" we heard mention of sending Echo to the "attic" because she is problematic. Which implies that attic is not a good thing -- isn't that where dolls go when they're of no use anymore? I have to wonder if all the actives don't end up there. That there is no real retirement. They sell you an awesome bungalow on the beach, but you end up... well, dead and buried in the sand.

My theory, anyway. :)

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[info]stoicana
2009-02-28 06:52 am UTC (link)
Hmmmm...you bring up some very interesting points and some very valid ones. I think there are two running themes in all of Whedon's work (at least what I've seen of it); pro-feminism and freedom.

There's always a strong female character central to the story. A female character who challenges the audience's perception of not only what a woman can do, but what is acceptable for a woman to do and what she can achieve on her own. I think you'd be hard-pressed to find a woman in the Whedon-verse who couldn't be labeled as a strong character in her own right.

The male characters of the Whedon-verse, for the most part, instead of challenging this world view, accept it and support it. Through them, Whedon makes his pro-feminist stance work. Not because females must be rescued by men or their actions justified by them, but because the males of the Whedon-verse often represent the world "outside" - the world the audience lives in. He's, in essence, telling us that women are just as strong as men, just as smart as men, and just as capable, but they're not superheroes. They get hurt, they bleed, they cry when a friend dies, and as such they need support too. And that's okay. Men aren't there as rescuers, but as the support group to keep the women from falling off the bandwagon when the going get's tough.

That's what I think at least. Did that make any sense? It's 2 in the morning here, so feel free to tell me if I'm just rambling.

That said, I do think (like you've said) that it's too early in the game to judge the show. Pro-feminism seems to be implicit in everything Whedon does, but I think he's moreso continuing the "Freedom" element he was forced to cut short in Firefly in Dollhouse. A kind of "know thyself" thematic and the importance of a sense of self.

But it's too early in the show, and it's too late for me here. Great post though.

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[info]jane_dark
2009-02-28 10:14 pm UTC (link)

Thank you!

He's, in essence, telling us that women are just as strong as men, just as smart as men, and just as capable, but they're not superheroes.

I like that, though I think Joss has kind of a fetish for magical women, who display great physical force because of some sort of supernatural reason. Zoe is the only female character whose physical strength isn't the result of some sort of special power, and she's also the female character whose strength gets the least exploration.

You're right about it being too early in the game to judge. I just love speculating. And it'll be interesting to see how he develops the "know thyself" thematic.

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[info]stoicana
2009-03-01 05:42 pm UTC (link)
I think Joss has kind of a fetish for magical women, who display great physical force because of some sort of supernatural reason.

If you look at it at their physicality alone, then yes, but that's more by virtue of the fact that Whedon loves to deal with sc-fi/fantasy. Firefly was less fantasy more sci-fi (Western sci-fi of all things) where the people were still people...just in space. Buffy and Angel were fantastical approaches to the world, so Buffy could kick ass because of some mystical force and Willow was cool 'cause she was a witch.

I'm also speaking mentally as well, though. Super physicality is all well and good, but achieves nothing in terms of supporting feminism if the women themselves cry or whine at the drop of a hat and can't handle life in general.

Whedon's girls can (most of the time) and when they can't they have their support system (often male, yes, sometimes of the demon variety) to reinforce the fact that, yes they can......Good grief, I sound like Obama. Not a bad thing. ;)

Anyway, that was just my long-winded way of elaborating my point.

And believe you me, speculation is great brain food. Don't stop.

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[info]missyjack
2009-02-28 08:47 am UTC (link)
interesting points, although I don't see how Boyd fits in - he is still part of the system (partiarchy if you like) and actively supports it. He could act against he Dollhouse, but he doesn't.I feel most uncomfortable with his character as he is written to our elicit our sympathy, but really is he any better than Topher?

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[info]jane_dark
2009-02-28 10:16 pm UTC (link)
Oh, that's a huge point, in terms of what I don't like about the show. The above is how I think Whedon wants viewers to watch it, and identify with it.

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[info]harbek
2009-02-28 11:49 am UTC (link)
I like you.

Have a cookie.

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[info]jane_dark
2009-02-28 10:17 pm UTC (link)
Thanks! Have one back! Edible ball bearings optional.

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[info]harbek
2009-02-28 11:36 pm UTC (link)
You have a lot of awesome points. I just don't have the brains today to respond intelligently. So, you know... cookies.

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[info]rashaka
2009-02-28 09:53 pm UTC (link)
Hm... I'm having two simultaneous responses to this theory

1. I think you're giving JW too much benefit of the doubt, reaching too far. I would be really surprised if your theory turned out to be correct and he was that ambitious. Right now, all I'm getting from the premise is a generic/reliable old theme of fighting for freedom and the rights of the individual self, dressed in the packaging of a woman fighting sexist oppressors to win her life back. That's where I expect the show to go as a whole, but the plot details may vary.

2. If you are right, and this is about men needing to fight sexism, then I also feel it's problematic, for the same reasons previously mentioned: having a female lead who is a symbol for the advancement and philosophical development of lesser male characters is the same sexist bullshit that makes me wonder why bother having a female lead at all, since she really doesn't matter. It takes her personal struggle and makes it about them. I really, really hope that's not how it goes.


I'm okay with Whedon using the idea of men fighting sexism as an element of the story, and I can certainly see traces of that in Ballard. I don't think that humans can overcome gender bias if we don't all see and face the problem, men and women. But I don't want that to overtake Echo's journey, since as the protagonist hers is the journey I'm supposed to care about.


It seems from reviews I've read at the dollhouse_tv comm and on my flist that some people have already embraced Boyd/Echo's handler as a heroic character and/or one who is "good" and therefor exempt from the contempt with which we view characters like Topher, the blond security officer, and DeWitt. I think that couldn't be further from accurate.

Boyd isn't a "good" guy---he won't be for a long, long time. He willfully joined this operation, he's seen first hand everything that can go wrong and how revolting it all is, and he's instrumental in the execution of it. Yeah, he cares about Echo. But big whoopie. Until he plots to overthrow it from the inside he's just as guilty and sexist as the rest of them. No one's holding a gun to his head...he's getting paid a good salary for what he does. And what does he do? He controls Echo. Everything noble about his life as a cop, he left behind when he took this post. He looks with disgust on Topher, but they're equally complicit in the program. Topher just doesn't need a mask of self-righteousness to make himself feel less of a creep.

If Boyd is going to "see the light" and redeem himself for his complicity and profit with the Dollhouse, he'll need to lose a lot and he'll need to go a long way toward breaking down the program. Whether that's destroying it from the inside or the outside I don't know yet. But he's got a lot to make up for, morally.

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[info]jane_dark
2009-02-28 10:23 pm UTC (link)
1. I think you're giving JW too much benefit of the doubt, reaching too far.

I probably am. I love to speculate. I'm that person who sees 10 minutes of any thriller film, and tries to work out the eventual reveal, just from that little bit. (Not to spoil people, mind you.)

I really don't see Boyd as the hero (I think that might be how Joss Whedon wants viewers to see him), but your point about leaving behind a theoretically not exploitative career as a cop is something that I wasn't really paying as much attention to. Thanks for pointing that out.

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[info]pointedview
2009-03-04 06:18 am UTC (link)
I disagree that she's giving him too much credit. She may well not be giving him quite enough.

Link to Whedon interview featured on NPR

Whedon says the first group he pitched the show to — after Dushku and Fox — was the board of Equality Now.

"I knew that would be the toughest room I would ever sit in," Whedon says. "What I basically told them was I was examining the idea of fantasy, and some of the stuff that would happen would be good, and some of the stuff that would happen would be kind of awful, and that the whole point was going to be to blur those lines, to take what we want from each other sexually, how much power we want to have over each other."


Oh, and hi, by the way. :) Came here through [info]dollhouse_tv. My own Dollhouse posts are here.


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[info]rashaka
2009-03-04 06:45 am UTC (link)
I hope you're right.

to take what we want from each other sexually, how much power we want to have over each other.

As promising as that sounds, I don't know that his ultimate conclusions from this kind of experimentation are going to be good or positive for his female characters. I hope it's good, I hope it's not sexist. I hope, I hope, I hope, but I don't yet see.

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[info]jane_dark
2009-03-04 05:06 pm UTC (link)
I hope, I hope, I hope, but I don't yet see.

I'm in the same boat. I found myself watching 20 minutes of Gossip Girl on Monday night, and then kept watching, mainly because I was thinking about Dollhouse, and the idea of illustrating/portraying harmful societal/cultural influences. And I _did_ find myself thinking that Gossip Girl made them every bit as visible as Dollhouse did.

Well. I'll see whether it can dig itself out of the hole it seems to be creating for itself.

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[info]jane_dark
2009-03-04 05:02 pm UTC (link)
Oh, I'm aware of that interview. Here's what worries me, from Whedon's statements in the interview:

This is directly after he's saying that nonconsensual sex isn't ever okay. And I *am* glad he said that. But almost immediately, he follows it up with this:

"Nobody says, if somebody puts a gun in her hand and she shoots someone, isn't that just as bad for a person as a sexual act that is not in any way physically harmful?

Essentially, he's comparing nonconsensual violence, and nonconsensual sex -- and implying that a nonconsensual sexual act *could* be "not in any way physically harmful." I understand, I think, that he's distinguishing between lesser and greater brutality in rape. But I still find his perspective to be really problematic, however well-intentioned it may be.

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[info]jane_dark
2009-03-04 05:02 pm UTC (link)
Oh, and hi, back! Thanks for stopping by.

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